‘Tintin, gender and desire’

Abstract

ABSTRACT Gender representation in Les Aventures de Tintin (The Adventures of Tintin) (1929–1986) is problematic and, thus far, inadequately theorised. Firstly, despite the contemporaneous rise of second-wave feminism, Hergé’s women occupy almost exclusively domestic or quotidian roles and are commonly ‘backgrounded’ or even absent for entire adventures. Secondly, departures from this, when they do appear, such as self-made operatic diva Madame Bianca Castafiore, are represented in unflattering terms or as objects of profound ambivalence. So much so, this article argues, as to render the motif axiomatic rather than accidental. However, Tintin himself has been read as strongly feminised, especially in relation to Haddock, and one could even argue that he is of virtually indeterminate gender. Related to this is the issue of desire. Despite the Adventures being ostensibly aimed at children, using psychoanalytic criticism a number of commentators have teased out evidence of both a sublimated Oedipal family drama and occluded sexual subtexts. Via discussion of requisitions of Tintin as a gay icon and critical arguments surrounding both hetero- and homoerotic subtexts, I conclude that the hero’s queering – in the broadest sense of the term – is vital to a critical understanding of Tintin and perhaps even Tintin’s cultural rehabilitation.